In his strikingly ambitious and provocative book, Noise Uprising, Michael Denning argues that the early recording industry unleashed a worldwide sonic revolution. Focusing on the five-year period inaugurated by the invention of electric recording technology in 1925, Denning analyzes the recording boom that played out in port cities throughout the world. He argues that these recordings broadcast to the world a collection of “vernacular musics” whose rhythms, timbres and unconventional conventions “disrupted the hierarchical orders and patterns of deference that structured colonial and settler societies” (Denning, 2015, p. 155). In so doing, they “decolonized the ear,” laying the essential ideological groundwork for the global wave of political decolonization...
The Politics of Tango: A Response to Michael Denning's Noise Uprising1
Matthew B. Karush is professor of history at George Mason University and editor-in-chief of the Journal of Social History. He has published numerous articles and books on the political and cultural history of Argentina, including Musicians in Transit: Argentina and the Globalization of Popular Music (Duke University Press, 2017).
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Matthew B. Karush; The Politics of Tango: A Response to Michael Denning's Noise Uprising. Journal of Popular Music Studies 1 December 2019; 31 (4): 51–66. doi: https://doi.org/10.1525/jpms.2019.31.4.51
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